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Friend Husband 




Ti.J)ENI50N&C0MPAhi^^ 

?UBLI§HER5 OUCAGO 



iilipPFfiFL, 




DENISON'S ACTING PLAYS 

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T.S.DENISON & COMPANY,Publishers,154 W.Randolph St., Chicago 



FRIEND HUSBAND 



A COMEDY 



BY 

IRVING DALE 

AUTHOR OF 

''Sotivenir Spoo7is,'' ''Tickets Please,"' etc. 




CHICAGO 

T. S. DENISON & COMPANY 

Publishers 



=$ .'il' 









FRIEND HUSBAND 



CHARACTERS. 

Nellie Ferguson The Wife 

Jane Ferguson Her Sister-in-law 



Time — The Present. 



Place — Mrs. Ferguson's liz'ijig rooi 



Time of Playing — About Twenty Minutes. 



COSTUMES AND CHARACTERISTICS. 

Jane — A very neat appearing woman of thirty. No frills. 
Nellie — Younger than Jane and rather doll-babyish. 



PROPERTIES. 

Table, desk with chair, several large easy chairs, couch, 
etc., to make well furnished hving room. Newspaper for 
Jane ; pen, ink and colored stationery for Nellie ; gentle- 
man's picture in frame on desk ; a woman's white glove 
tied in tissue paper, a door key, a vase with note written 
on Nellie's stationery, inside. 



STAGE DIRECTIONS. 

R. means right of the stage; C, center; R. C, right cen- 
ter; L., left; R. D., right door; L. D., left door, etc.; 1 £., 
first entrance ; U. E., upper entrance, etc. ; D. F., door in 
flat or scene running across the back of the stage ; 1 G., first 
groove, etc. The actor is supposed to be facing the audience. 



copyright, 1916, BY EBEN H. NORRIS 



2 '0^ 

©an 43200 ■• 



OCT 18 1916 



TMP92-009022 



FRIEND HUSBAND 



Scene: .i well furnished room. Mantel at rear. Table- 
desk a little to R. of C. and placed at an angle so that the 
front may be seen. There is a chair at the desk and a larger 
one on the other side. At the L. is a couch. The door is 
at L. 

Jane is seated in the big chair, reading a newspaper 
z^'ith scareheads of "Divorce" and "Scandal." 

Nellie sits at desk writing. She tears up the note on 
which she is zvorking, takes a fresh sheet {the paper to 
be of a pronounced color), nibbles at the end of her pen- 
holder for a minute, looking into space the while— then 

Nellie. \Miat on earth shall I say to the woman? 

Jane {hardly looking up). Oh, say any old thing. 

Nellie. Don't be absurd, Jane. One doesn't write "any 
old thing" to a woman whose husband has just eloped with 
an actress. 

Jane. Tell her you are sorry, of course. 

Nellie. How can I? You know as well as I do that 
jmi Cheuneville is an awful scamp. {Leaning forward.) 
W by, I've heard that he even— no, I can't tell you dear— 
you're not married and you wouldn't understand. Believe 
me. she is well rid of him. 

Jane (a bit disappointed). Then bv all means conq-ratu- 
late her. 

Nellie. No, that would be rubbing it in. 

Jane. Oh, don't bother to write at all. 

Nellie. Why, Jane, you told me to write. 

Jane (turning around). I told you? Nonsense. I 
merely suggested that you write. Besides, I didn't dream 
you were going to make such an awful fuss over it. 

Nellie. I'm not making a fuss. But I can't sit down 
and just 'Mash off a few lines" to a woman who is on the 
verge of a divorce. Poor Mrs. Cheuneville. Think of her 

3 



4 FRIEND HUSBAND. 

husband running off with that horrid creature — a second- 
rate actress. 

Jane {going back to her paper). Foohsh. He ought 
to have taken a really good one while he was about it. 

Nellie {taking up a picture that is on tJie desk). Oli, 
Fred, Fred, if you were to cut up like that, I'd crawl into 
a lonely corner and die. 

Jane {rising). Fiddlesticks! You make me so tired. 
You haven't any more backbone than a jelly-fish — not a bit. 
Why, I believe if Fred were to knock you down, you'd pick 
yourself up and cry for more. 

Nellie. Because Fm married to your brother doesn't 
give you the right to insult me. Jane. 

Jane. I didn't insult you — 

Nellie {almost in tears). You did. You called me a 
jelly-fish. Fm sure they are nasty, slippery things. 

Jane {coming oz'cr to her). There, there, don't mind 
me. Fm a sour-tempered old maid. 

Nellie. I can't help it if Fm not aggressive and self- 
assertive. 

Jane. Of course you can't. Only it does seem a pity 
sometimes that you haven't got a little more spunk. 
{Pause.) I wonder — I wonder what you reall}' would do 
if— 

Nellie. If what? 

Jane. Why, if Fred were to lam-a-loose a bit. 

Nellie. Lam-a-loose ? 

Jane. Yes, you know — look at other women. I wonder 
if you really would crawl into a corner and die. But what 
is the use of wondering. Fm about as likely to marry as 
Fred is to bother his head about women. 

Nellie. I don't know about that — 

Jane. You think I've a chance? 

Nellie. I wasn't thinking about you at all. I was 
thinking about Fred. 

Jane. Are you beginning to suspect him already ? 

Nellie. Nothing could ever make me suspect Fred of 
anything improper. He is different from other men. 



I'RIEXD 11US15AXU. 5 

Jane. That is what all married women say, and they 
are the first to turn on their husbands at the slightest ap- 
pearance of wrong doing. 

Nellie. / never would. Fred and I were discussing 
the subject this morning and he said that it was the un- 
founded suspicions of many wives that drove their hus- 
bands into doing things they otherwise would never think 
of doing. I think he is right. My faith in him is so strong 
— why, only this morning, as I watched him from the 
window — 

Jaxe. Shaking him a day-day. I saw you. You've done 
it all three mornings I've been here. 

Nellie. I wasn't shaking him a day-day. I was waving 
him a kiss. He deliberately turned to look after a tall 
blond woman — a bleached blonde, too. She had on thin 
stockings and held her skirt very high. 

Jane. Cause and effect, my dear. Come, let me sit 
down, ^^'e'll see what kind of a note I can manage. 

Nellie (rising). You ought to be glad you're a single 
woman, Jane. 

Jane. I am. Now let me think. (Reading briskly as 
she zvrites.) "My dear Mrs. Cheuneville — " 

Nellie (at Jane's left and in C). Oh, no, no. (Very 
syin'pathetically.) "My dear Mrs. Cheuneville." 

Jane. That's what I've got. 

Nellie. I know ; but it's the way you said it. 

Jane (imitating). "My dear Mrs. Cheuneville: Is it any 
help to know that loving thoughts are with you in your 
trouble — " 

Nellie. Would you say "trouble.?" 

Jane. Why not? 

Nellie. Doesn't it sound a little too sympathetic? 

Jane. Considering that she's well rid of her man, per- 
haps it does. (Tears up the note and writes again.) "My 
dear Mrs. Cheuneville: Is it any help to know that you 
have our loving thoughts? Sincerely." How's that? 

Nellie. That's good. 

Jane. Shall I sign your name or mine? 



6 FRIEND ilUS^AXD. 

Nellie. Sign, "Nellie and Jane Ferguson." 

Jane. My dear, we're not doing a sister act. 

Nellie. Oh, well, sign your own, tlien. It's such a 
relief to get it over. I felt that I ought to write something, 
yet I couldn't think what. 

Jane {who has enclosed letter in an envelope). Where 
is it she lives — Clement Lane ? 

Nellie {looking over the paper). Let's see — yes, 74 
Clement Lane. 

Jane {blots the envelope vigorously). Where do you 
keep your stamps? 

Nellie. Right there — the second drawer on your left. 
No, no; Fred locked that this morning. See if he put the 
stamps in the top drawer. 

Jane. I don't find them. 

{They both go through the various drawers zvithoiit suc- 
cess. Finally they come back to the locked drawer.) 

Nellie. Well, they must be in here. He didn't take 
them out. 

Jane. What did he lock it for, anyway? 

Nellie. I don't know. He told me not to open it. 

Jane. Told you not to open it. Did you see him put 
anything in there? 

Nellie. No. He just told me he had locked the drawer 
and said I was not to open it. 

Jane. I should think you would be wild with curiosity 
to see what's in here. {Jiggles the drazcer.) Besides, you 
need the stamps. 

Nellie. Give me the letter. I'll go out and post it. I 
can get a stamp at the drug store. 

Jane. How foolish, when there are some here. Did 
he make you protnise not' to open it ? 

Nellie. Well, not exactly promise. He said, ''Now, 
little woman" {shaking her finger in iinitation), I don't 
want you to look in that drawer." 

Jane {sits and picks up the paper). That settles it; you 
won't. 

Nellie {heading toward the door ivith the letter). I 



FRIEND M USB AND. 7 

would be likely to catch more cold if I were to go out, 
wouldn't 1? {She coughs slightly. Jane conceals her 
lumiseijieut.) W'c could just get the stamps and not look to 
see what else is there. 

Jane. ''IVc!" What have I got to do with it? It's no 
concern of mine. Where's the key? 

Nellie. I don't know. {Looks over the desk.) 

Jane {helping her look). What kind of a key is it? 

Nellie. It's a large — no, it's a small — I don't know, I'm 
sure, what it looks like. I never use the old thing. {Crest- 
fallen.) Well, I can't find it. He must have taken it with 
him, 

Jane {after a moment, pointing to the drawer above). 
Perhaps, by pulling this top drawer 'way out, you can get 
at that one. 

Nellie {brightening). Good. Go ahead and try. 

Jane. Go ahead yourself. I'm not going to do your 
dirty w^ork for you. 

Nellie {starts to pull out the draiver, then stops). Oh, 
I don't dare. Fred \\\\\ be angry. 

Jane. Perhaps it w'ill be better not to. The letter can 
wait. 

Nellie {thinking it over). If the note is to do any 
good, it ought to go at once. {With determination.) I 
must have those stamps. 

Jane. Just a minute. Did Fred say not to open the 
drawer, or not to look in it? 

Nellie. He said {shaking her finger as before) "Now, 
little woman, I don't want" — what difference does it make 
what he said? 

Jane. Why, if he said not to open it, by pulling this 
(pointing to the top drazver) one out, you won't be open- 
ing that one. 

Nellie. Oh, I see. I can look in the drawer without 
opening it. I am sure he didn't say anything about look- 
ing — I was just not to open it. Here goes. {She pulls out 
the upper drazver. They both lean forzvard eagerly. Nel- 
lie pushes Jane azcay.) I'll get the stamp, Jane. I'm his 



8 FRIEND HUSBAND. 

wife, you know. {She pokes around a jninute and then pulls 
oitt a key, a Japanese vase zvith a small neck and a package 
tied up in tissue paper. Jane names them as they are 
handed to her and places them on the desk.) 

Jane. A key ! A vase ! A package ! 

Nellie. My goodness ! 

Jane. For Heaven's sake! {Both reach for the pack- 
age. Nellie gets it.) 

Nellie. Jane, let me. {She looks it all over, then un- 
ties the package and brings out a woman's white glove, 
large and rather soiled.) A woman's glove. {Tries it on.) 
It's not mine. I wear a five and a half and this is a seven 
if it's a day. {Smells it.) Gasoline! I wonder where he 
got it. What on earth did he lock it up for? 

Jane {holding up the key. Nellie does not see her.) 
What a funny looking key. Do you recognize it? 

Nellie. No, I don't. {Suspiciously.) Why do you 
suppose he wanted to hide those things from me? 

Jane. How do I know? The glove and the key might 
go together, but where does the vase fit in ? 

Nellie. What do you mean by the glove and the key 
going together? 

Jane {laughing slyly). Why the key might belong to 
the one who belongs to the glove. 

Nellie. But the glove belongs to some woman. What 
is he doing with her key? It's a door key ! Oh, Jane ! {She 
drops on sofa L. overcome by the horrible suspicion.) 

Jane {has examined the vase and discovered a rolled-up 
paper of the same color as the note paper they haz'e been 
using. She unrolls it, find it's a letter, then hurriedly rolls 
it up again and slips it into the vase. As her back has been 
to Nellie, Nellie does not see the performance.) I've 
seen that vase before. 

Nellie {hardly able to speak). It's mine. Fred gave it 
to me before we were married. It belongs over there on 
the mantel. I hadn't missed it. 

Jane {places the vase on the desk. SJie turns and sees 



FRlEx\D HUSBAND. 9 

Nellie witJi her face buried in her hands). Why, Nellie, 
what is the matter? {Tries to raise her head.) 

Nellie. Oh, i;o away! 

Jane. Nellie dear — 

Nellie (jumping up and going C). Leave me alone, I 
say! 

Jane (follozving). Now, Nellie, don't be silly — 

Nellie (turns on her. Jane backs azcay toward the 
desk in mock alarm.) Silly! Silly! I'm not silly, I'm mad — 
mad clear through. Oh, what a fool I've been to think 
Fred different than other men. We have been married 
less than a year and already he treasures some other 
woman's glove. (Throws the glove on the floor and stamps 
on it.) Oh, what a fool I've been! 

Jane (in a carefully szveet voice). Listen, dear — 

Nellie (in a rage. Jane runs back of the desk). Don't 
speak to me. If it hadn't been for you I never would have 
thought of opening that drawer. It was you who was 
curious to see what was in there, not me. Oh, I know 
your nasty, catty ways. You never do anything yourself, 
you merely suggest. Some one else does the work and 
gets all the blame. (Jane tries to call her attention to the 
vase by pushing it tozvard her.) You're tickled to death 
that I'm miserable. You never liked me anyway. I know 
you never did. Nothing would suit you better than to have 
me get a divorce. Then you could have Fred all to your- 
self. (Jane giz'ts the vase another push.) Stop that! But 
I won't get a divorce! I'll lead him a dog's life! I'll show 
you whether I'm a jelly fish or not! I w^on't give him a 
minute's peace ! Oh, I hate him ! I hate him ! I hate him ! 
(Jane puts out her hand to give the vase another push. 
Nellie in her rage gets ahead of her and grabs the vase 
and holds it as if to throzv it. Jane, thinking she is going to 
be hit, runs up stage, crying, ''Don't, there is a letter in 
there!'' But she is too late. Nellie throzi>s the vase zcith 
all her might on the floor, then drops into the chair at the 
desk in a torrent of tears.) 

Jane (holding; up her hands). The deluge! (She comes 



10 FRIEND HUSBAND. 

down and looks for the letter. She finds it among the 
broken pieces of the vase. She goes to Nellie.) Look. 
Nellie; look here. There was a letter from Fred (Nellie 
is interested) and it is for you. 

Nellie. For me? {Sits up and wipes her eyes.) 

Jane. Yes, perhaps it explains the whole business. 

Nellie {getting up and standing C). Let me see it. 
Why, it's on my note paper. He must have written it there 
at the desk. ' 

Jane. Yes, and it's dated today. 

Nellie {reading). "Dear Nellie: You don't know it, 
but you are going to be the victim of an experiment. I've 
been wondering what you would do if I were to lock a 
drawer — say of this very desk — and ask you particularly 
not to open it. {They look at each other.) I wonder if you 
would be the least little bit disturbed if you were to find 
a woman's glove in the drawer?" 

Jane. Disturbed! Ahem! 

Nellie {continuing). 'Tor the success of the experi- 
ment you must see the glove first and read this letter after- 
ward. How am I to manage that? I know! Fll just wrap 
the glove in paper. (You see I am counting upon your 
being curious.) Now Fll slip this note into the vase that 
is. over there on the mantel. Perhaps you won't examine 
that too closely at first. Then Fll put the vase with the 
note and the glove in the drawer and lock it. An inspira- 
tion ! Fll put my latch key into the drawer. That also will 
make you curious. There's more than one way to get into 
a drawer." {They look at each other again and Jane 
laughs.) "Fm awaiting the result with interest. Fred. 
P- S. — I forgot to say that I found the glove in the street 
car last night." {After a pause.) Jane, were you in on this 
— this experiment? 

Jane. Good heavens, no ! But I did suspect a trick when 
you found the drawer locked. 

Nellie. What a precious little fool Fve been. Don't 
tell Fred how silly I was, will you? 



FRIEND HUSBAND. 11 

Jane (laiigJiing). Not even about crawling off in a cor- 
ner to die? 

Nellie (putting her hand over Jane's mouth). Oh, 
don't! Now promise you won't tell him. 

Jane (makes unintelligible noises). 

Nellie (shaking Jane slightly). Promise! 

Jane (breaking azvay). How can I with your hand over 
my mouth? I promise. 

Nellie. You're a darling! (Kisses Jane.) 

Curtain. 



By Way o£ the Secret Passage 

By LINDSEY BARBEE. 

Price 25 Cents 

Comedy-drama in 3 acts; 1 male, 11 females. The character 
of John Harvey can easily be assumed by a girl if it is not de- 
sirable to have a man in the cast. Time, 1% hours. Scene: 1 
interior. Characters: Mrs. Sherman, the hostess. Betty Drew, 
her niece. Ruth, Alice and Rita, guests. Hannah, a maid. 
Madame Drew, of revolutionary days. Annette, Caroline and 
Elizabetli, her daughters, Wenonah, an Indian maid. John Har- 
vey, of the Patriot army. 

SYNOPSIS. 

Act I. — Betty's engagement dance on Christmas night. The por- 
trait of Mrs. Elizabeth Drew. Betty's great-great-grandmotlier. 
The story of Mistress Elizabeth's romantic career. Ghosts of the 
happy pair haunt the room each Christmas night. Rita falls 
asleep in a chair and dreams a dream. 

Act II. — Scene I — The dream of long ago. John Harvey gains 
an interview with his lady love. The secret mission is made 
known to Mistress Elizabeth and the marked chart is put into 
her hands. Shots, pursuit and the secret passage. Scene II — 
Where is Elizabeth? The mysterious tapping. Elizabeth makes 
a dramatic entrance and brings astounding news. 

Act III. — Rita awakes. Betty's puzzling absence is discussed. 
Another mysterious tapping. "He's waiting for me — at tlie end 
of the secret passage, the same as in the long, long ago!" 

Abbu San o£ Old Japan 

By WALTER BEN HARE. 

Price 25 Cents 

Comedy-drama in 2 acts; 15 females. Time, about 2 hours. 
Scene: a simple interior. Characters: Abbu San, daughter of 
his majesty. Duchess Fuji-no. Lady Yu-giri, Mist of the Even- 
ing. O Matsuka San and O Kiku San, maids of honor. Ohano, 
wife of the bandit chief. Natsu-no, hostess of the inn "Million 
Welcomes." Okuku, sister of the Ox, a porter at the inn. Umi, 
Sada and Yasa, peasant maids. Henrietta Dash, an American 
newswriter. Aunt Paradise, a black mammy. Madam Masago, 
manager of the players. Ono, her maid of all work. 

An absolute novelty in play construction, bristling with inci- 
dents and sparkling with comedy. The play is presented after 
the fashion of "The Yellow Jacket," the stage hands changing 
scenery in full view of the audience and the manager explaining 
the action and introducing the different characters from her seat 
at the side. The star part is particularly suited to the tempera- 
ment of a pretty little ingenue, the characters of Fuji-no and 
Mist of the Evening call for heavy and effective dramatic work 
and old Aunt Paradise who longs for "ole Virginny" is a comedy 
creation of especial note. Dances and song numbers from Mi- 
kado are called for by the text but these may be given or not at 
the pleasure of the manager. A picturesque and very effective 
dramatic entertainment with a distinct plot that will interest and 
amuse any audience. Suitable for schools, colleges, clubs or 
churches. 

T. S. DENISON & COMPANY, Publishers 

154 W. Randolph Street, CHICAGO 



DENISON'S ACTING PLAYS 

Price 15 Cants Each, Postpaid, Unless Different Price Is Given 



M. 1-. 

Winning Widow, 2 acts, 1>^ hrs. 

(25c) 2 4 

Women Who Did. 1 hr..,(25c) 17 

Yankee Detective, 3 acts, 2 hrs. 8 3 

FARCES. COMEDIETAS. Etc. 

All on a Summer's Day, 40 min. 4 6 

April Fools, 30 min 3 

Assessor, The, 10 min 3 2 

Baby Show at Pineville, 20 min. 19 

Billy's Chorus Girl, 25 min... 2 3 

Billy's Mishap, 20 min 2 3 

Borrowed Luncheon, 20 min.. 5 

Borrowing Trouble, 20 min 3 5 

Case Against Casey, 40 min,.. 23 

Country Justice, 15 min 8 

Cow that Kicked Chicago, 20 m. 3 2 

Divided Attentions, 35 min 1 4 

Dude in a Cyclone, 20 min.... 4 2 

Family Strike, 20 min 3 3 

First-Class Hotel, 20 min 4 

For Love and Honor, 20 min.. 2 1 

Fudge and a Burglar, 15 min.. 5 
Fun in Photo Gallery, 30 min.. 6 10 
Great Medical Dispensary, 30 m. 6 
Great Pumpkin Case, 30 min.. 12 

Hans Von Smash, 30 min.... 4 3 

I'm Not Mesilf at All, 25 min. 3 2 
Initiating a Granger, 25 min.. 8 

Irish Linen Peddler, 40 min... 3 3 

Is the Editor In? 20 min... 4 2 

Kansas Immigrants, 20 min... 5 1 

Men Not Wanted, 30 min 8 

Mike Donovan's Courtship, 15 m. 1 3 

Mother Goose's Goslings, 30 m. 7 9 

Mrs. Jenkins' Brilliant Idea, 35m. 8 

Mrs. Stubbins' Book Agent, 30 m. 3 2 

My Wolfe's Relations, 1 hr 4 6 

Not a Man in the House, 40 m. 5 

Pair of Lunatics, 20 min 1 1 

Patsy O'Wang, 35 min 4 3 

Pat, the Apothecary, 35 min.. 6 2 

Persecuted Dutchman, 30 min. 6 3 

Regular Fix. 35 min 6 4 

Second Childhood, 15 min 2 2 

Shadows, 35 min 2 2 

Sing a Song of Seniors, 30 min. 7 

Taking Father's Place, 30 min. 5 3 

Taming a Tiger, 30 min 3 

That Rascal Pat, 30 min 3 2 

Those Red Envelopes, 25 min. 4 4 
Too Much of a Good Thing, 45 

min 3 6 

Turn Him Out, 35 min 3 2 

Two Aunts and a Photo, 20 m. 4 
Two Gentlemen in a Fix, 15 m. 2 

Two Ghosts in White, 20 min.. 8 

Two of a Kind. 40 min 2 3 

Uncle Dick's Mistake. 20 mm.. 3 2 

Wanted a Correspondent, 45 ni. 4 4 

Wanted a Hero, 20 min 1 1 



M. F. 

Wide Enough for Two, 45 min. 5 2 

Wrorig Baby, 25 min 8 

Yankee Peddler, 1 hr 7 3 

VAUDEVILLE SKETCHES. MON- 
OLOGUES. ETHIOPIAN PLAYS. 

Ax'in' Her Father, 25 min.... 2 3 
Booster Club of Blackville, 25 m.lO 
Breakfast Food for Two, 20 m. 1 1 

Cold Finish, 15 min 2 1 

Colored Honeymoon, 25 min... 2 2 
Coon Creek Courtship, 15 min. 1 1 
Coming Champion, 20 min.... 2 
Coontown Thirteen Club, 25 m. 14 

Counterfeit Bills, 20 min 1 1 

Darktown Fire Brigade, 25 min. 10 
Doings of a Dude, 20 min.... 2 1 

Dutch Cocktail, 20 min 2 

For Reform, 20 min 4 

Fresh Timothy Hay, 20 min.. 2 1 
Glickman, the Glazier, 25 min. 1 1 
Good Momin' Judge, 35 min.. 9 J 

Her Hero, 20 min I 1 

Hey, Rube! 15 min 1 

Home Run, 15 min 1 1 

Jumbo Jum, 30 min 4 3 

Little Red School House. 20 m. 4 

Love and Lather, 35 min 3 2 

Marriage and After, 10 min.. 1 

Memphis Mose, 25 min 5 1 

Mischievous Nigger, 25 min.. 4 2 

Mistaken Miss, 20 min 1 1 

Mr. and Mrs. Fido, 20 min 1 1 

Oil, Doctor! 30 min 6 2 

One Sweetheart for Two, 20 m. 2 
Oshkosh Next Week, 20 min . . 4 

Oyster Stew, 10 min 2 

Pete Yansen's Gurl's Moder, lOni. 1 

Pickles for Two, 15 min 2 

Pooh Bah of Peacetown, 35 min. 2 2 
Prof. Black's Funnygraph, 15 m. 6 

Sham Doctor, 10 min 4 2 

Si and I, 15 min 1 

Special Sale. 15 min 2 

Stage Struck Darky, 10 min.. 2 1 
Sunny. Son of Italy, 15 min.. 1 

Time Table. 20 min 1 1 

Tramp and the Actress. 20 min. 1 1 
Troubled by Ghosts, 10 min... 4 
Troubles of Rozinski, 15 min.. 1 
Two Jay Detectives, 15 min.. 3 

Umbrella Mender, IS min 2 

Uncle JeflF, 25 min 5 2 

What Happened to Hannah. 15m. 1 1 



A sreat number of 

Standard and Amateur Plays 

not found here are listed in 

Denison's Catalogue 



T. S. DENISON & COMPANY, Publishers. 1 54 W. RandoiphSt. . Chicago 



POPULAR ENTERTAIN „ ., -^-... ,„„ 

Price, Illustrated Paper Covers, .« Zr^YA^ 102 908 7 





IN this Series 
are found 
books touching 
every feature 
in the enter- 
tainment field. 
Finely made, 
good paper, 
clear print and 
each book has 
an attractive 
individual cov- 
er design. 
A Partial List 

DIALOGUES 

All Sorts of Dialogues. 

Selected, fine for older pupils. 
Catchy Comic Dialogues. 

Very clever; for young people. 
Children's Comic Dialogues. 

From six to eleven years of age. 
Country School Dialogues. 

Brand new, original- 
Dialogues for District Schools. 

For country schools. 
Dialogues from Dickens. 

Thirteen selections. 
The Friday Afternoon Dialogues. 

Over 50,000 copies sold. 
From Tots to Teens. 

Dialogues and recitations. 
Humorous Homespun Dialogues. 

For older ones. 
Little People's Plays. 

From 7 to 13 years of age. 
Lively Dialogues. 

For all ages; mostly humorous. 
Merry Little Dialogues. 

Thirty-eight original selections. 
When the Lessons are Over. 

Dialogues, drills, plays. 
Wide Awake Dialogues. 

Original successful. 

SPEAKERS, MONOLOGUES 

Choice Pieces for Little People. 

A child's speaker. 
The Comic Entertainer. 

Recitations, monologues, dialogues. 
Dialect Readings. 

Irish, Dutch, Negro, Scotch, etc. 
The Favorite Speaker. 

Choice prose arid poetry. ' 
The Friday Afternoon Speaker. 

For pupils of all ages. 
Humorous Monologues. 

Particularly for ladies. 
Monologues for Young Folks. 

Clever, humorous, original. 



Monologues Grave and Gay. 

Dramatic and humorous. 
Scrap- Book Recitations. 

Choice collections, pathetic, hu- 
morous, descriptive, prose, 
poetry. _ 15 Nos., per No. 25c 

DRILLS 

The Best Drill Book. 

Very popular drills and marches. 
The Favorite Book of Drills. 

Drills that sparkle with originality. 
Little Plays With Drills. 

For children from 6 to 11 years. 
The Surprise Drill Book. 

Fresh, novel, drills and marches. 

SPECIALTIES 

The Boys' Entertainer. 

Monologues, dialogues, drills. 
Children's Party Book. 

Invitations, decorations, games. 
The Days We Celebrate. 

Entertainments for all the holidays. 
Good Things for Christmas. 

Recitations, dialog|Lies, drills. 
Good Things for Sunday Schools. 

Dialogues, exercises, recitations. 
Good Things for Thanksgiving. 

A gem of a book. 
Good Things for Washington 

and Lincoln Birthdays. 
Little Folks' Budget. 

Easy pieces to speak, songs. 
One Hundred Entertainments. 

New parlor diversions, socials. 
Patriotic Celebrations. 

Great variety of material. 
Pictured Readings and Tableaux. 

Entirely original features. 
Pranks and Pastimes. 

Parlor games for children. 
Private Theatricals. 

How to put on plays. 
Shadow Pictures, Pantomimes, 

Charades, and how to prepare. 
Tableaux and Scenic Readings. 

New and novel; for ali ages. 
Twinkling Fingers and Sway- 
ing Figures. For little tots. 
Yuletlde Entertainments. 

A choice Christmas collection. 

MINSTRELS, JOKES 

Clack American Joker. 

Minstrels' and end men's gags. 
A Bundle of Burnt Cork Comedy. 

Monologues, stump speeches, etc. 
Laughland,vla the Ha-Ha Route. 

A merry trip for fun tourists. 
Negro Minstrels. 

All about the business. 
The New Jolly Jester. 

Funny stories, jok^.i, gags, etc. 

Larsre Illustrated Catalogue Free 



T.S. DENISON & COMPANY, Publishers. 154 W. Randolph St. , Chicago 



